World-renowned Lindy Hop Teacher, Performer, & Competitor

Tag: Jack & Jill

Annie Trudeau’s passion for dance was first well demonstrated when she chose her career as a dance teacher and performer over her engineering physics degree’s possibilities. She also trained as a competing artistic gymnast when she was a teenager. She is a co-founder and co-owner of Studio 88-SWING in Montreal (Canada) where she teaches swing since 2001. As the artistic director, she also manages and dances in the Montreal Swinging Air Force dance performance troupe, which has been International Lindy Hop Champions in 2010-11 and 2014 and Canadian Champion 2013-14-15. She is passionate and enthusiastic as a swing dancer, teacher and competitor. She has numerous titles in competition including 6 first place at International Lindy Hop Championships (2008 to 2013 included) in Washington in the Showcase Category and also first place at the European Championships in London in October 2013. She also danced at the Montreal Jazz Fest with the electro-swing band Caravan Palace, was hired as a choreographer for the Cirque du Soleil and lately coached artists for the TV Show ”Les Dieux de la Danse” in Canada. Annie has dedicated the last 10 years of her life full time to her dance business and to her art, and she loves to share her experience and knowledge to students of all levels and ambitions.

INTERVIEW

Name: Annie Trudeau

Home base: Montréal, Québec, Canada

Year you started competing: 2001

approximately how many competitions have you competed in: 60 in swing, much more if you take into account gymnastic and figure skating.

Competing

* Why do you compete?

To push the boundaries of my artistry and to contribute to the evolution of swing dancing.

* Why do you think competition is valuable?

I think competition gives a goal to any individual, couple or team who want to create a piece and perform it. Having a goal that has a specific time restriction helps gather the ressources in order to accomplish a certain amount of smaller goals, or to achieve a new skill, or to get to a certain level that one (or a group) can decide prior to the project. If it’s improv category, it provides a platform and a goal to work up to as well because improv skills can be worked on in the studio or on the social dance floor before going to a comp. I think the more competition is something you do as a way to improve, the most healthy and positive it is. The more one consider competition as a way to compare to other people, the more it *can* have more of a negative or depressing impact on the participants.

* What’s your personal philosophy on Jack and Jills?

I try to create the best dancing moment possible. How I go about this is first of all on a personal level. With my partner, I try to create a connection that makes it so we feel we can trust each other in being ourselves, and it’s ok to make ”mistakes”. When that atmosphere is established, then both partners can be at their best precision wise, musicality wise and risk-taking wise. I think JnJ should be about finding a way to make your partner give the best performance of its life, and pretend like the music is your favorite one even if you don’t especially appreciate it.

* Do you still get nervous before a competition?

The more I spend time preparing a piece, the more I am. It’s not about the importance of the competition, of the amount of people in the crowd, it’s about how much work I’ve put to get to that point and how a mistake can have an impact on my potential disappointment.

I always have to remind myself that being zen and simply happy to be healthy and able to inspire people is a gift not everyone can say they have been given, and any amount of unnecessary stress will hinder my performance so I push away the clouds of doubt before I go on stage as much as I can.

* How do you deal with nerves before a competition?

See above answer. Plus making mental runs of what would be for me a perfect show.

* What competition have you done that meant the most to you? Why?

Disclaimer: I will mention Max Pitruzzella in those lines, because I have been his partner for many years and it is part of my past. I will repeat again how it is saddening for me to know now that he selfishly chose a path in life that hurt deeply so many people. I will not share videos of us for a while ; it is a bit sad for me to erase such an important part of my past, but it is not as important than to be part of a movement where there is zero-tolerance for people who are so careless about the other people’s well-being that they will take advantage of their position of power to exploit, manipulate, assault sexually etc. Zero-tolerance. With hope of a brighter future, I will now go on in sharing a bit of my past.

ALHC 2001

The first time my team Swinging Air Force dared going to the USA to do a competition. We were the first Canadians to do that! Got 3rd place with a routine where we were nurses and soldiers. 🙂 We were super nervous because we admired so much American dancers. Watching the tape cassettes at home and all that. 😉 We even had to go to NESDC a month before to ‘simply perform’ our routine to get feedback by the judges to let us know if we were going to be ridicule or not participating in a ‘real’ competition. Haha. So I get it when beginners are afraid. It is a scary world of star dancers out there. But in the end – 16 years later – I can assure you that we are all human and nothing replaces a good work ethic and countless hours on the dance floor to get better and perfect your art!

ULHS 2007

The first time I got a 1st place at an international event. Fast division. Woah!

Frankie 95 in 2009

We worked so much to prepare for that event! Every day, many hours a day, preparing to perform Hellzapoppin as well in the show. I learned that Frankie passed away while being in Montpellier at an event. We were so extremely sad, I remember a jam we did right away on Hellzapoppin music giving our everything in honour of Frankie. I mourned, I went to his funeral in NYC, drove early in the morning from Montreal… A lot of emotions around that event! So when Max and I participated in the really big Strictly and got the old timers recognition by winning, we were extremely proud.

ILHC 2012 (video above)

The first time after many years that I showcased a routine with a different partner other than Max. I did it with Thomas Blacharz. We spent every evening for a week in Herrang (after my full teaching day) to create the piece and I met him in Denver for 3 days later that summer. It was exciting and I was very proud of what we did together. We won the Showcase category. It proved to me that I was not a good dancer only because of Max, although I knew he contributed a lot in my development, just like I contributed to his. I was working on my individuality as a dancer, and this made a big difference in my journey.

* What is/was your favorite competition to watch?

Juniors at ILHC! Those kids are the biggest inspiration when it comes to giving your everything. <3

* Three pieces of advice to give to the next up-and-coming competitors?

1) Figure out why you want to compete so you are aware of your ambitions and select carefully where you assign your (probably) limited time in terms of dancing.

2) Give your absolute best because that’s how the experience is worth it

3) Find courage to express yourself while being inspired by others instead of trying to move like someone else (bonus: discover who you are it in the process). Be patient if you are looking for results. Persevere as it will eventually be rewarded internally and externally. Spread your joy, always!

Judging

* What do you enjoy about judging?

Getting to witness talent and ideas on a privileged seat.

* What do you dislike about judging?

Having to rank people when the values I hold dear don’t guide me to a clear ranking.

* As a judge, what are you looking for in a Routine?

I won’t be looking for the same things in a showcase, a classic or a team routine so here are the differences in my opinion:

In all routines, I will favour a lot new ideas and risk-taking and personality over pure technique. I am a fervent of the evolution of the dance, while keeping solid roots. If I see a couple that feel like a breath of fresh air, that dare go out there with there new ideas giving their heart out, I will take this into strong consideration over a renowned more experienced couple doing a more conservative routine even though overall technique might be better. Obviously, precision, rich movement, intricate rhythms and musicality all matter a lot, just as organic, elastic and efficient connection, even in a choreography context.

That being said, in a showcase division, a piece has to be especially extrovert and entertaining in its style and in the choice of content and execution. There is value to a routine which would entertain a general public crowd (public of non-Lindy Hoppers, neophytes). Often times, showcases will involve air steps. Although in order to add value to a routine, those air steps have to feel like any other movement ; the couple should execute them with the same precision, the same ease as other on-the-ground movement of their routine. I make small exceptions when I see a very daring and unusual air step being performed, because I want to encourage new ideas and risk-taking although if I feel like any of the partners are unsafe performing it, I will try to mention it to them and I will penalize them for trying something they were not ready for and putting their physical integrity at risk.

In a classic, I think we can trade pure entertainment to a more refined, deeply-felt, more intricate interpretation of a swing piece. Usually, a more experienced eye will appreciate more the value of a good classic routine. The social dancing feeling should be top priority, quality of movement and connection are also super important. Movement interpretation of music as to aim to be as good as the music itself.

In a team division, group execution (including individual dancing) and synchronisation, precision of group effects and formations and overall choreography are my main guidelines.

* As a judge, what are you looking for in a Strictly?

A strictly competition in my opinion should highlight the exceptional abilities of a specific leader dancing with a specific follower. A perfect balance should be aimed between improvising and using already rehearsed material such as combos and sequences. I think different events might have different traditions or preferences in what they are trying to promote and participants should try to get what that feel is in order to best prepare.

* How about in a Jack & Jill?

As I mentioned before, a JnJ should be a blissful moment where two dancers make the best of a given dancing situation. Take the best qualities of a follower, and the best qualities of a leader and try to make them operate at the same time! I want to be invited in sharing this moment with the competing couples, and I want to see respect and support in each others attempt at risk-taking, crazy musicality or variations. In all this magic, do not forget to showcase your best technique though, because I might be charmed by your instant connection, but it won’t make me close my technique eye! 😉

* What do you think the biggest misconceptions are about Routines/Strictly’s/Jack & Jills?

”I am not ready to compete.”

Well, if you read my 2001 first competition story up here, you know that I feel you sister/brother!

That being said, 16 years and a career later, my opinion has changed so I will share it in hope to encourage you to come out of your shell if you are ready for it (but you don’t know it yet).

If you are not ready to compete because you don’t enjoy competing or the concept of competing, then do not compete. You don’t have to.

If you don’t compete because you think you are not good enough… but you think you would enjoy competing…then that’s where trying to find courage is only what you need to make it happen! So here is what I think. Choose an event where you have seen newcomers and beginners being warmly welcomed (insert here almost all Lindy Hop events on the planet, this community is very warm to newcomers on average). Try to go with friends and find a mentor who will encourage you to do so as well. That’s what I did with my peers, remember, we went to ‘perform’ our routine just to get an approval first… hey we were insecure, so we went to our own pace! Try to do the same. Be gentle with yourself, but don’t stop trying until you get your goal! Baby steps 🙂

Use your passion as main drive and never compromise your well-being and your happiness for dancing. Dancing should be at the service of your well-being. Not the opposite. Write me if you need a little pep talk, I’ll answer as best of my capabilities : Annietrudeau@gmail.com. 😉

* Three pieces of advice to give to the next up-and-coming competitors?

1) Dance for dance sake

2) Study hard but create as hard. Be part of history as an innovator.

3) Be an artist growing through the practice of dance. Try to find and create beauty as much as you can!

Nick Williams has embodied the passion and spirit of swing dancing ever since his first lesson in 1998. The depth of his understanding of Lindy Hop, Balboa, and Collegiate Shag stems from studying with the original dancers. Nick’s desire for authenticity, combined with his passion for dance evolution, leads to a style known for precision, lightness, musicality and dynamic energy. His successes include World Lindy Hop Champion, US Open Swing Dance Champion, American Lindy Hop Champion, National Jitterbug Champion, International Lindy Hop Champion, Ultimate Lindy Hop Champion, American Classic Balboa Champion and California Balboa/Swing Champion. Nick was honored to be recognized by the California Swing Dance Hall of Fame. He is also an accomplished choreographer and has choreographed for the hit television show So You Think You Can Dance. As an instructor, he is known for his ability to break down movements and technique to create a fun and light-hearted learning environment. His true love of music and dancing will forever inspire him to learn, teach, and grow.

INTERVIEW

Name: Nick WilliamsHome base: Orange County, CAYear you started judging: around 2000Year you started competing: 1998Approximately how many competitions have you judged: several hundredApproximately how many competitions have you competed in: several hundred

Competing

* Why do you compete? What does it do for you?
Personally, it gives me the opportunity to push myself and improve my dancing. Always forcing me to create and evolve. Professionally, competing an easy way to let the dance community know that I am still relevant, provides a platform for me to share my voice, and allows me to focus on the goals I set for myself.

* Why do you think competition is valuable?
i think competing allows you to take your dancing to the next level. It’s also a really great way to raise the level of dancing in a scene by providing inspiration and excitement which hopefully will inspire other dancers to do the same thing. Finally, it’s an easy way to share the energy and the spirit of Lindy Hop.

* What’s your personal philosophy on Jack and Jills?
Simple: it’s you, your partner, and the music. A large part of a Jack & Jill is understand the strengths of your partner and finding a common ground. I don’t like when people try to out dance their partner or disconnect in order to show themselves off.

My philosophy: Focus on creating something together.

* How long before you start prepping for a competition?
As far as a routine division, I start preparing at least 2-3 months before, and depending on which competition, I might need to start the routine even earlier.

* What is your process like for creating a Showcase?
I first pick song and edit the music (if need be). I then need to clarify the direction of what I’m going to do with the routine (vision). Next, I pick out the parts of the song where I have a clear idea (flashier moments or points I want to build toward), outline the flow of the dance, create a rough draft of the entire routine, and finally polish it. This process has taken as little as 3 days and as long as 4 months.

An important note: I think it’s a mistake to just sit down and go ahead without a clear idea of direction. Not to say that routine won’t come together, but it’s far easier to create something when the vision is clear.

* What would you recommend to someone who is training for a Strictly?
For faster tempo phrase battle it’s important to create sequences that you can execute well at the assumed tempo (yes, that should be obvious, but it’s not always the case). Depending on how much time you have, I’d recommend creating spot choreo (move-lettes or something one to two 8s long) that could be polished in one week to one months time. If, however, it’s more of a “just dance” competition where choreography is not the focus (or spirit), then I would recommend spending copious amounts of time social dancing with your partner to get on the same page. Philosophically, I personally don’t want to over-choreograph – I just want to put some good, solid dancing on the competition floor.

* Do you still get nervous before a competition?
On occasion, but less than I used to. So much of competing is the mind-game and if you know how to harness the anticipation/nerves/energy, it can work in your favor or it can totally work against you. To me it ends up being like performing in theater. Once I get out onto the floor, all the anticipation melts away.

* How do you deal with nerves before a competition?
I grew up playing sports – track & field and soccer – and my coaches encourage all the players to use visualization and focus the nervousness.

I think it’s important to put yourself in the right head space before hitting the floor. Before a “just dance” competition, I’ll go out and have some silly dances with my parter and remind myself that I’m here to have a good time, to feel our connection, and that I trust my partner.

* What competition have you done that meant the most to you and why?
THE competition that meant the most was the Jitterbug Contest at Camp Hollywood in 2000. I was very green, a new kid in the scene, it was my first major competition, and politically I was being bullied. Essentially, some people were trying to get me out of the scene because I was seen as a threat since I was coming up the ranks without the ass-kissing. Cassanda and I competed, took 3rd, and beat out some of the bullies. Going out there with all that the BS, showing well and placing, and getting such great positive feedback from people … that was totally my Karate Kid moment.

* What is/was your favorite competition to watch? Inspiration?
I like to go back to the old clips – the original dancers. My inspiration for how I want to dance and who i want to get my inspiration/technique from is the old stuff: Buck Privates, Hellzapoppin, Gene Kelly… that’s what makes me push.

The vintage clips I draw most from for my dancing, but find some from other dance forms. I like how bodies moves, and I don’t just mean swing dancer. I love to collect different types of movement even if I won’t directly use them in my dancing. I have been inspired by many forms, but I primarily draw from the 30s & 40s as well as the dancing of the song and dance people in musicals from 1930s-1950s.

* Three pieces of advice to give to the next up-and-coming competitors?
1) Always dance and compete for yourself, never for anyone else or by anyone else’s values. Don’t look for praise. Decide what your voice is, and that’s what you put on the floor. Competing should be less about the win and more about sharing who you are.
2) Don’t let the results get to you. There is always another competition and you can always improve by the next one.
3) “Dignity. Always dignity.” – Gene Kelly

Aaaaaand, here’s a little bonus from me (Jo) to you.
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Judging

* Why do you judge?
I judge because I like my value system to have a say in who wins and where the dance goes.

I spent a long time developing that system of values. It’s a combination of what the original dancers handed to me – in regards to what the dance was about (not just how it’s done) – and what is good dancing. This was a several year journey – lots of research done via compare and contrast – and I was really interested in what generally makes dancing good. Specifically, I’m talking about: quality of movement, dancing with music, musicality, and connecting to partner. Coming at the dance from this perspective also helped me while I was starting my teaching career; I was constantly searching for a better way to teach/dance Lindy Hop.

* What do you enjoy about judging?
I enjoy being apart of where this dance goes and I appreciate being able to put my stamp of approval on what I think is best performance/competitor in the moment.

* What do you dislike about judging?
The main thing is when you have to think like a judge, you don’t get to enjoy it like an audience member. You don’t get to immerse yourself in the experience because you have to be analytical.

* As a judge, what are you looking for in a Routine?
A combination of routine construction and execution. Something danced well and well-choreographed. I look for partner relationship and interaction, the degree of difficulty of what they’ve created – not just flash or WOW factor, but the little nuances – and for a representation of the dance they are supposed to be representing. For example, if it’s a Lindy Hop Routine Division and most of the routine is solo jazz, to me that warrants less of a reward than primarily doing partnered movement.

* As a judge, what are you looking for in a Strictly?
I’m looking for a dynamic partnership instead of individual dancers expressing themselves while holding someone’s hand. I want to see a partnership create something together and have something to say – something that stands out from the pack.

* As a judge, what are you looking for in a Jack & Jill?
Partner connect and interaction. The point of a J&J is to dance with someone who isn’t your partner and to create a great dance together.

* What do you think the biggest misconceptions are about routines/Strictlys/Jack & Jills?
Competitors make too many choices based on what the audience cheers for. They try to go for the audience appeal and approval instead of focusing on good dancing.

* Three pieces of advice to give to the next up-and-coming competitors?
1) Judges don’t exist when you dance. Don’t worry about the judges. Just dance for yourself and your partner.
2) It doesn’t matter what the judge value system is – yours matters more.
3) Don’t forget to have fun

** Anything else?
Competitions are a way to help drive, inspire, and improve the scene. In no way does this say who is the best, should dictate how you social dance, or change you because you don’t think you’re enough. Don’t forget that social dancing is about the little things and competitions is about the big things, so remember why you’re doing what you’re doing.

First I need to thank the volunteer staff for being so incredibly awesome. They did a fantastic job making sure that everything was running in the background so that everyone could have a great time. THANK YOU to the cooks, transportation liaison, coordinator, music and sound technicians, hotel staff for making sure we had water, the DJs, photographers, videographers, the lighting coordinators, and everyone else who helped out Michael and Jaya in the background.

Secondly, I want to thank all of the people that attended, especially the students. You and your and enthusiasm are what make doing my job such a treat. You guys made the event as fierce as it was. I get to do what I do because of you and I thank you from the bottom of my heart.

8) The Nutcrackers.

7) Andrew Thigpen as the MC.

6) Nina Gilkenson impersonating Andrew Thigpen:

5) The Balitquerque party.

The Baltimore and Albequerque scene teamed up some time ago and have been throwing legendary parties at various dance events. At the end of these various events, Dorry (one of the head honchos in Baltimore) would rave about the party and ask us why Kevin and I weren’t there. Unfortunately, we never got an invitation. This happened at two events. No bueno (*shakes head). So this year, Dorry made an extra effort to make sure we felt included.

Kevin and I received our invitations during our Swing Out Intensive.

Andrew Munoz dressed up in his tux and cordially informed us that we were invited to (*use your best British accent here) “enjoy an evening of tomfoolery” and that we should swing by room 166 around 7 o’clock. How delightful!

4) Winning the Invitational Jack & Jill with Todd Yannacone. That competition was really hard to judge so I’m very surprised that we took 1st. I am positive the scores are all over the board, so I have to give a shout out to the Relative Placement system! 😀

3) Nath Bugh and Dorry Segev Dueling Piano number from the show on New Years Eve. The video speaks for itself.

2) Performing five new numbers this year, most of which I learned in the two weeks prior to the event.

The most challenging act I did was my solo jazz piece called My Discarded Men. I probably spent around 35 hours putting this routine together and trying to teach myself how to make the particular shapes I did. It wasn’t perfect, but I am really proud of myself.

1) All of the ridiculously awesome social dances I had on the last night!! Ok, so I was a little buzzed off of all the champagne I had, but man, my following was pretty freaking awesome (*toot toot). I had a number of really-freaking good dances that night, but in particular, I felt that I really connected with Todd and Mikey. Not only that, but Jonathan Stout and His Campus Five were playing. Gaaaaaaaaaah, the music was soooooooooooo freaking gooooood!!!

Kevin and I kicked off our weekend with a little bit of “Shake that Thang!”

The Atomic Cherry Bombs were sexy as hell! I think it’s a great video of the performance, which means it must have been that much more incredible in person.

Hat Trick Initiation

James Bianco & Irina Amzashvilli were initiated into the Hat Trick Club this weekend. They are now members of the League of Extraordinary Hat-trickers.

This is one of the best versions of this routine I’ve seen them do. Sure, there were a few little flubs, but honestly, they freaking hit it. The crowd was awesome and Tips & Tops were men of legend. Well done men!!!

Yeah!!! Lindy Hop has a future!! I was so impressed by how good everyone was in Orange County. Good heavens, those cats swing! The quality of their movement and swing outs assures me that lindy hop will continue to grow and thrive. Thank you to all the competitors; all of you won over my heart.

Solo Charleston

Jack & Jill

Strictly Lindy

This year, the Strictly was done in a new format. Two couples at a time were given one chorus to battle for their life and then the 5 judges decided who lived, and who died (sounds very Roman the way I’m explaining it). After the four rounds of battle, the four remaining couples jammed.

Invitational Strictly – Spotlight 1

Invitational Strictly – Spotlight 2

You might notice that I dressed differently than I typically do. Lisa Casper (New Orleans) outfitted me from head to toe. That is her yellow bandanna, yellow top, and skirt. The fun thing about that skirt is that she made that herself! I think this might be the making of a new clothing designer in our scene!! (And and and, in a very short while I’ll be selling hair accessories handmade by her!!)

Jack and Jill!!!!!!

What set this competition apart from all the others was the music. We danced to a lindy hop song and then something that fell into the karaoke/soul category. Nick Williams and I were brave enough to choose Karaoke Grab Bag, and to be honest, I think it was a great choice. 🙂

FAVORITE MOMENTS:
1) Sucking on the lindy hop portion and then finding total redemption with a Star Lift. To top that off, Nick’s “fork in the garbage disposal” moment. And I have to give Chia-Wen Lin a shout out for being such an awesome team player as well as Carla for continuing to play along.
2) Andrew Thigpen and Carla Heiney dancing to “Summer Nights” from Greece (14:41). She made such a great Sandra Dee and they both acted the crap out the song!! Hahha, and getting to be backup singers….man… I’ll never forget that.
3) Peter Strom and Mia Goldsmith’s dance was……so many things (21:39)!! One way to describe it is “not work appropriate”. Another: daaaaaaaaannng! Just watch everyone’s reaction in the background. Funny stuff. 🙂
4) Nikki Marvin swivel moment (28:30) shortly followed up by Jeremy Otth’s circle slide (28:35) and finger point (just to make sure you saw it dancing to Footloose (28:56). When he undid his suspenders….we all nearly lost it! He made such a great Kevin Bacon….it was ridiculous!

Naomi Uyama also did a fantastic job picking out the music!! People we so well suited to the music they chose. Love it!

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Up Coming Weekend

An intensive weekend dedicated to improving your technical skills so you can lead/follow just about anything. Focus: Spinning and Turning
~ Feb 9-11 2018 - New York ~

Interview Series

An interview series about competing and judging from some of the top Competitors and Judges in the Lindy Hop Scene today! Check out what Annie, Bobby, Alice, Nick, Sylvia (and more!!) have to share about winning, dealing with nerves, dancing your truth, and connecting to the music.

Up Coming Weekends

An intensive weekend dedicated to improving your technical skills so you can lead/follow just about anything.
Focus: Lindy Hop
~ Apr 27-29 2018 - London ~

Learn to Style and Swivel with Jo

Spiff up your lindy hop and get fancy with Jo! In this video, she will teach you how to get powerful, feminine swivels and how to play with them, a variety of slides, and some sweet variations!
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Learn from Jo Hoffberg Online!

Jo is now a featured dance instructor on iDance.net, where you can download instructional dance video clips for just $1.99 each. There are hundreds of dance lessons online, including classes with Kevin & Jo in Lindy Hop, Aerials, 1920s Charleston, Solo Jazz, and Technique on Spinning, Swivels, and Swing Outs.